Deal on Fire! The Raid 2: Berandal | Blu-ray | Only $8.99 – Expires soon!

Posted on December 27, 2015 by JJ Bona
The Raid 2: Berandal | Blu-ray & DVD (Sony Pictures)

The Raid 2: Berandal | Blu-ray & DVD (Sony Pictures)

Today’s Deal on Fire is the Blu-ray for Gareth Evans’ thrilling action film, The Raid 2: Berandal.

From Paul Bramhall’s review: “Evans has constructed a masterpiece here, which is every bit as much of a gangster movie as it is an action one. For those who are looking, there are subtle nods of the head to several of the classic Korean gangster movies, the Nikkatsu movies from the 60s, The Godfather, as well as a host of winks to talent he obviously has a lot of respect for such as Donnie Yen, John Woo, Panna Rittikrai, Takeshi Kitano, and in one scene I’d even say David Lynch. I’ll sign off there, now get out and see it.”

Order The Raid 2 from Amazon.com today!

Posted in Deals on Fire!, News |

Battles Without Honor and Humanity Vol. 4: Police Tactics (1974) Review

Posted on December 23, 2015 by Kelly Warner
"Battles Without Honor and Humanity Vol. 4" Blu-ray Cover

"Battles Without Honor and Humanity Vol. 4" Blu-ray Cover

Director: Kinji Fukasaku
Writer: Koichi Iiboshi, Kazuo Kasahara
Cast: Bunta Sugawara, Akira Kobayashi, Takeshi Kato, Tatsuo Umemiya, Hiroki Matsukata, Nobuo Kaneko, Hideo Murota, Shingo Yamashiro, Kunie Tanaka, Shinichiro Mikami, Ichiro Ogura, Asao Koike, Asao Uchida, Harumi Sone, Tatsuo Endo
Running Time: 101 min.

By Kyle Warner

The Battles Without Honor and Humanity series is best viewed back-to-back and never is that more true than with Proxy War and Police Tactics. The events of Proxy War ignite a gangland war that’s left unfinished at the end of that film and intensifies in Police Tactics, drawing the ire of civilians and forcing the police to act.

In the years following the end of World War II, the yakuza weren’t only tolerated, they were occasionally celebrated and even employed by the most unlikely of establishments (including both the Japanese and American governments). By the 1960s, Japan had rebuilt its country both structurally and economically, and people wanted to enjoy this new era of normality. The country would soon host the Olympics in 1964, but here were the yakuza, a group of thugs that’d missed the memo that their time was over. The world had moved on and it was unsympathetic to the men it had once romanticized as chivalrous anti-heroes.

After the violence between yakuza claims the lives of innocent civilians, the people of Hiroshima demand that the police put an end to the slaughter. The police—largely depicted here as an anonymous force of law and order—start by just making things difficult for the yakuza: they monitor every stronghold to prevent violent raids and, most importantly, they strangle the yakuza’s cash flow by halting money collection runs. Despite all of this, the rival gangs remain in a constant state of conflict. The bosses try to keep their young soldiers in line, but too many false starts for ending the war have made everybody jumpy. Instead of a unified assault, the battles of Police Tactics are more like guerilla warfare, as one side attacks the other and waits for the inevitable retaliation.

Caught in the middle of all this is Hirono (Bunta Sugawara), who’s aligning himself with former enemies and plotting to kill his one-time superiors. Though Hirono is one of the few bosses willing to end the war himself, his men are too protective of him and constantly throw themselves into the fray in his stead. At one point a policeman sneers at Hirono about how he can eat well and sleep comfortably while his men barely scrape by. Hirono bursts out that they live by a code that the cops couldn’t understand. For the longest time, Hirono was the one character cynical enough and smart enough to “get it.” But if there’s anything that Battles Without Honor and Humanity wants to get across is that this all-important code doesn’t exist, at least not anymore.

Along with the original Battles Without Honor and Humanity, I count Police Tactics as one my very favorites of the series. And considering I think so highly of the series, I suppose that makes Police Tactics one of my favorite films regardless of country or genre. Of the sequels, Police Tactics is the most similar in tone and execution to the first movie, giving us a documentary-style gangster epic with enough plot threads to make your head spin. There’s also a considerable amount of dark comedy, something unexpected from the series but certainly welcome.

I want to give special mention to the film’s most memorable characters and performances, of which there are many. Nobuo Kaneko (Ikiru) has the duty of playing one of the most dislikable gangsters ever put on film. He may not be the most violent, nasty, rapey, or insane villain, but he exhibits every other unlikable quality of a man in power that should make Yamamori universally despised. He may get fewer scenes in Police Tactics but Kaneko has a way of lingering on in the viewer’s conscious long after the character has stepped off the stage. Also worthy of praise is Kunie Tanaka (All About Our House) who plays Yamamori’s right-hand-man Makihara. In the beginning, Makihara was a cowardly mouse but he evolves into a man of violence with a short temper, and Tanaka is completely believable throughout the transformation. Akira Kobayashi (Retaliation) plays a cool yakuza at odds with Hirono, though the two are very much alike. Hiroki Matsukata (13 Assassins) returns to the series as a different character, here playing the terminally ill yakuza Fujita. And of course at the center of it all is Bunta Sugawara (Street Mobster) in the role that would rewrite his career. For the longest time, Sugawara was a supporting player in the films meant to showcase other stars. Sensing that Sugawara could go darker and uglier than those film idols, the actor became a favorite of Kinji Fukasaku for the director’s new wave of crime pics. Battles Without Honor and Humanity was a huge success, catapulting many men to stardom, especially Fukasaku and Sugawara. Cool but also comfortable with the image of a bad guy, Sugawara owns the role of Shozo Hirono and it’s impossible to imagine anyone else in the part. The actor would go onto make many more films – some of them classics – but this is the role he’ll be remembered for.

Arrow Video has released the Battles Without Honor and Humanity series as a limited edition Blu-ray/DVD multi-format box set with new special features. Included on this disc is a 17 minute featurette called Remembering Kinji, where film critic Sadao Yamane and the director’s son Kenta Fukasaku (Battle Royale 2). Together they discuss Kinji Fukasaku’s artistic influences, his politics, and his impact. I enjoyed some of the insights here, particularly from Yamane. Also included is a 15 minute interview with assistant director Toru Dobashi, who shares some stories about Fukasaku’s work methods and memories from the set. Though there’s less to learn from Dobashi’s interview, it’s the more entertaining extra. Also included on the disc is the film’s original trailer.

In Proxy War it felt like cast and crew fully understood the beast they’d created. Things clicked. Nothing felt false. Proxy War was all about setting up the game, then Police Tactics comes in, flips the game board and laughs as all the pieces go flying. This film has all the chaotic violence that the series is known for as well as the well-researched, contemplative drama that’s often overlooked. Battles Without Honor and Humanity: Police Tactics is fantastic.

Kyle Warner’s Rating: 9/10

Posted in All, Japanese, News, Reviews | Tagged , , , , |

Shaolin: The Blood Mission | aka The Fourth Largest Shaolin Temple (1984) Review

Posted on December 20, 2015 by Paul Bramhall
"Shaolin: The Blood Mission" Korean Theatrical Poster

“Shaolin: The Blood Mission” Korean Theatrical Poster

Director: Park Woo-sang
Writer: Hong Chi-Yun
Cast: Hwang Jang Lee, Ho Kei Cheong, Suen Kwok Ming, Poon Cheung, Luo Hua-Sheng, Olivia Hung, Park Dong-yeol, Lee Jin-Yeong, Kim Ki-Bum
Running Time: 85 min.

By Paul Bramhall

The name of Korean director Park Woo-sang may not be immediately familiar to many, and understandably so. However once the filmmaker immigrated to America, he continued to direct under a different name – Richard Park – and for those who know their B-movie cinema, chances are that this alias should ring a bell. From the mid-80’s Park terrorized the B-movie circuit with such titles as L.A. Streetfighters, American Chinatown, and most famously thanks to the recent Drafthouse Films release, Miami Connection.

Before his immigration stateside though, under his original name of Park Woo-sang he directed a number of decent Korean kung fu movies. From the Korean version of Zatoichi, with the 1971 flick The Blind Swordsman, through to the likes of the Casanova Wong starring Strike of Thunderkick Tiger. Shaolin: The Blood Mission, was the last movie he made in Korea (the original Korean title is The Fourth Largest Shaolin Temple), and as with so many Korean kung fu movies of the era, it was bought up by Godfrey Ho and Tomas Tang’s IFD Films for international distribution, and given an English dub.

What separates Shaolin: The Blood Mission from many of the Korean productions that Ho and Tang bought up, is that it quickly becomes clear the movie is a co-production between Korea and Hong Kong, long before their interference. Numerous familiar faces from Hong Kong populate the production, such as Yen Shi Kwan is listed as action director, the main character is a monk played by Suen Kwok Ming, and Ho Kei Cheong appears as a prominent villain. Outside of the principal cast members though, the rest of the performers in Shaolin: The Blood Mission are exceptionally difficult to find any information on. Sites like the Korean Movie Database, the Hong Kong Movie Database, HKcinemagic, and IMDB all return blanks on elaborating beyond a handful of actors.

It’s a shame, because two of the unnamed members from the trio of monks that make up the protagonists are remarkably skilled, and appear to be Wushu practitioners. The guy who plays the shorter monk in particular is highly acrobatic, throwing in various exciting somersaults and flips whenever he’s in action. The third monk is the most muscular of the trio, but again moves with speed and displays some quality talent handling weapons. There’s also an additional character, a rebel who comes to the aide of the monks, who shows off a formidable range of kicks and has some great fast paced fight scenes. However all remain uncredited when exploring the usual avenues to look up information on these productions.

The movie itself starts off with a bang. Before the credits have even appeared, Hwang Jang Lee storms down the pathway leading up to the palace steps, carrying a cloth covered severed head in one hand, all set to the shower scene soundtrack from Psycho. It’s a double whammy, not only is it a great way to make an entrance, but it’s also a great way to start a movie! A familiar plot is soon revealed – there’s a list which details rebels against the Ching Dynasty, and Hwang Jang Lee is tasked to find it, of course leading to the Shaolin Temple which is believed to be harboring both rebels and the list in question.

After a failed directing gig at Shaw Brothers, Hwang worked almost exclusively in his native Korea from late 1982, before returning to Hong Kong and making Where’s Officer Tuba? with Sammo Hung in 1986. Even though many fans consider Korean productions to be a class below their Hong Kong equivalents, which to a large degree is true, what can’t be complained about is the screen time Hwang got in his Korean movies. While many Hong Kong productions would have him randomly pop up in the finale, as a previously hardly seen villain (see Ninja in the Dragons Den and Tower of Death for prime examples), his Korean productions usually had him in prominent roles. Shaolin: The Blood Mission is no different, giving his villain character plenty of opportunities to let loose with his famous kicks.

Korean movies are also known for their slightly left of field antics, and here fans of the wacky won’t be left disappointed. At one point Hwang and his villainous cohort, played by Ho Kei Cheong, are playing a game of chess. However it’s no ordinary game of chess, sitting in high chairs at either end of a huge board drawn onto the ground, scantily clad ladies wearing see through gowns are the pieces, and Hwang instructs his pieces to move by whipping the lady in question. The eliminated piece is usually greeted by being stabbed in the chest, hardly the gentleman’s game it has the reputation to be! There’s also a bizarre scene were the abbot of the temple reveals he’s been hiding a book for a number of years, by having it stitched into his back! Removing it involves a rather gory scene of him having his back sliced open to remove the book from under his skin, after which he promptly dies. If anything, it certainly ensures that the scenes between the fights never get dull.

Of course the fights are really what kung fu movies are all about, and Shaolin: The Blood Mission is a pleasant surprise in this department. After a rocky start, which almost seems like it’s going to be an intolerable comedy, things turn serious pretty quickly, and the action comes thick and fast. As mentioned, the monks appear to be being played by genuine Wushu practitioners, so plenty of acrobatics and weapons work are included in the fight sequences. I believe this is the only movie which really pits Hwang Jang Lee’s kicks against the flowery flourishes of the highly stylized but visually stunning Wushu. The contrast between his powerful and disciplined kicking, to the monks flips and fluidity of movement, makes for a number of unique and thrilling confrontations.

Both the three central monks and Hwang Jang Lee also get their own individual chances to shine. The monks in an exam which pits them against each other, allowing for both opponents to display their physical dexterity, and Hwang in one particular scene in which he wades through a small army of monks from the temple, dispatching them with some fierce footwork. Events transpire to culminate in a fantastic three on one, as a spear wielding Suen Kwok Ming, the acrobatic monk, and the boot-master rebel team up to take on Hwang’s ferocious villain. It’s a long and exhausting fight, one in which every performer gets to do their thing. What I particularly liked about it is that mid-way through, it appears that the good guys are gaining the advantage, at which point Hwang ramps up his kicking to the next level, and as a result the whole fight gets turned up a notch.

Throw in rebels getting blown up with dynamite, monks being impaled by flaming arrows, and a chicken losing its head, and Shaolin: The Blood Mission certainly lives up to its title. There are some deaths that would even make Chang Cheh proud, a compliment that any kung fu movie should be happy to receive. While the dubbing and editing of the plot may sometimes leave you scratching your head, no doubt due to Godfrey Ho’s involvement rather than any fault of the original production, there’s enough solid fight action on display to more than warrant a watch. If you’ve contemplated watching Shaolin: The Blood Mission before but decided to give it a miss, hopefully this review will make you re-consider, but if it doesn’t, I’ll ask the same question that at one point the Abbot asks the monks – “Are you totally out of your skull?”

Paul Bramhall’s Rating: 7.5/10

Posted in All, Chinese, Korean, News, Reviews | Tagged , , |

Star Wars: The Force Awakens (2015) Review

Posted on December 17, 2015 by Paul Bramhall
"Star Wars: The Force Awakens" Korean Theatrical Poster

“Star Wars: The Force Awakens” Korean Theatrical Poster

AKA: Star Wars: Episode VII
Director: J. J. Abrams
Cast: Harrison Ford, Mark Hamill, Carrie Fisher, Adam Driver, Daisy Ridley, John Boyega, Oscar Isaac, Lupita Nyong’o, Andy Serkis, Domhnall Gleeson, Anthony Daniels, Peter Mayhew, Max von Sydow, Joonas Suotamo, Iko Uwais, Yayan Ruhian
Running Time: 135 min.

By Paul Bramhall

As the latest installment of the much loved Star Wars franchise hits cinemas in December 2015, the first under the distribution on Walt Disney Pictures, the internet can expect to become awash with reviews from every angle possible. Most of them will be likely scrutinized by the series’ diehard fan base just as much as the movie itself, so the very act of writing one is willingly putting ones self in the line of fire of the Star Wars faithful. I myself got to witness The Force Awakens on its opening night in Manila, played to an audience who enthusiastically cheered and whooped throughout its 135 minute runtime, so thought I’d pin a target to myself and offer up my own opinion.

It seems nostalgia plays an important part for many who’ll be going to see The Force Awakens, just as it did for the ill-fated prequel trilogy which kicked off back in 1999 with The Phantom Menace. I was 18 when that movie came out, but even then upon watching it in the cinema, there was no doubt in my mind that what I’d just witnessed was pretty awful. The soulless CGI landscapes, the clunky script, Jar Jar Binks, and the over reliance on playing up the light sabers iconic image as the coolest thing about Star Wars. As a child of the early 80’s, of course I also got to experience the original trilogy on VHS, and one of my childhood birthday parties even included a screening of Ewoks: The Battle for Endor. I still remember this movie being more entertaining than The Phantom Menace.

Now, 10 years since the last movie was released in the form of Revenge of the Sith, The Force Awakens begins a new trilogy that forms a direct continuation of the original three movies, bringing back Harrison Ford, Carrie Fisher, and Mark Hamill. Oh, and Chewbacca.

For readers of cityonfire, including myself, there was a particular interest shown in the casting of Indonesian action stars Iko Uwais and Yayan Ruhian of Merantau and The Raid movies fame. It’s not a spoiler to say that they appear onscreen for about 30 seconds. Yayan gets a few lines, but Iko doesn’t get to say (or do) anything. For those hoping to see some Star Wars Silat action, you’ll come away disappointed. But don’t worry, there’s still Beyond Skyline to look forward to. Of course Asia’s biggest action star, Donnie Yen, is also currently in the process of filming the Star Wars spin-off movie, Rogue One, which I’m sure will involve him throwing a few kicks.

What you may be surprised to hear though, is that I actually drew a sigh of relief when Iko and Yayan didn’t get to show off their impressive skills, as it simply wouldn’t have fit in with the story. One of the biggest mistakes the prequels made was their emphasis on the action. With the release of The Matrix, the sudden interest in kung fu saw an increased emphasis on Ray Park’s Darth Maul and his double bladed light saber. However Star Wars was never just about light saber fights and TIE fighter battles, it was about the characters taking part in those battles, and what was at stake as a result of them. That’s what really made the original trilogy become so fondly remembered.

Abrams has realized that in a way that Lucas failed to do when he returned, and in The Force Awakens the grand spectacle is secondary to the relationship between the two main characters – a disillusioned storm trooper played by John Boyega, and a scavenger with no family played by Daisy Ridley. These two innocent players get embroiled in events out of their control when they end up in possession of an android (the ball shaped robot seen in all of the publicity for the movie), which contains a map showing the location of Luke Skywalker, who has long been a recluse. Kylo Ren, played by Adam Driver, a character who idolizes Darth Vader, is also after the map, and soon everyone from Han Solo to Princess Leia is caught up in the fight to get their hands on it.

That’s the in-a-nutshell plot of The Force Awakens, and to go into any further detail would be heading into spoiler territory, something which should be avoided for such an anticipated movie. But it’s fair to say that Boyega and Ridley anchor the movie in a way that makes everything happening seem relatable, taking us along for the ride with them every step of the way as they’re overwhelmed, embattled, and ultimately empowered. It’s a satisfying journey, strongly bolstered by a fantastic performance by Harrison Ford, and despite having significantly less screen time, Carrie Fisher as well. Driver really nails the role of Kylo Ren, at once appearing to be completely ruthless, but at the same time convincingly showing his vulnerability in the subtlest of ways.

I mentioned earlier that the grand spectacle is secondary, and one of the best things about the action in The Force Awakens is the way the light saber is used very sparingly. The prequels had so many people swinging light sabers left right and center, that the iconic weapon no longer seemed special anymore. The Force Awakens goes a long way to rectifying that, with the light saber perhaps for the first time being conveyed as a weapon that feels both tangible and dangerous. Here there are no villains getting cleanly chopped in half, instead the saber is able to both draw blood and to burn, and the few scenes that they’re used in aren’t wasted. It’s very much a case of quality over quantity.

There are of course plentiful aerial battles between the TIE fighters and the X-wings, all of which are filmed in such a way that captures the excitement and thrill of being part of such a battle. However despite all of the impressive action scenes, what stands out the most about The Force Awakens is just how much of a real movie it is. The cinematography is stunning, with a huge and welcome reliance on practical effects, real filming locations, and wide angle lensing. The score offers up both plenty of new tracks, as well as worthy nods to the famous score of old. The characters are all well rounded and fleshed out, and again, just as many of the more colorful aliens are actors wearing prosthetics as they are CGI creations. Perhaps most importantly of all, the script works, acknowledging what’s come before while also paving the way for the movies ahead.

While critics could easily beat up on The Force Awakens, based on the fact that the plot could essentially be taken as a re-boot of A New Hope, it does little to diminish its entertainment value. Based on how big a Star Wars fan the reviewer is, you’ll most likely see reviews concluding in a hundred different ways. For me, I wanted an unpretentious piece of sci-fi action cinema, and that’s exactly what I got.

Paul Bramhall’s Rating: 8.5/10

Posted in All, Asian Related, News, Reviews | Tagged , |

Battles Without Honor and Humanity Vol. 3: Proxy War (1973) Review

Posted on December 16, 2015 by Kelly Warner
"Battles Without Honor and Humanity Vol. 3" Blu-ray Cover

“Battles Without Honor and Humanity Vol. 3” Blu-ray Cover

Director: Kinji Fukasaku
Cast: Bunta Sugawara, Akira Kobayashi, Takeshi Kato, Mikio Narita, Kunie Tanaka, Nobuo Kaneko, Shingo Yamashiro, Nobuo Kaneko, Tsunehiko Watase, Hideo Murota, Tatsuo Umemiya, Asao Uchida, Tatsuo Endo
Running Time: 102 min.

By Kelly Warner

Hiroshima Death Match is a strong film and a fine example of the yakuza film genre. However, it was little more than a side-story in the Battles Without Honor and Humanity series and didn’t do much to advance the series’ overarching narrative. In the third Battles film, Proxy War, things get back on track. We return our focus to Bunta Sugawara’s gangster Hirono and the brutal power plays between rival gangs in 1960’s Japan.

An aging yakuza boss is set to retire and everyone’s fighting for position so that they may be chosen as his successor. It’s like a political race but with even more backstabbing. Hirono supports Uchimoto (Takeshi Kato) for the soon-to-be absent position of boss. It’s a win-win situation for Hirono if Uchimoto gets the job; Uchimoto seems to have the right priorities and he’ll be sure to remember those who helped him get the post, especially Hirono. And while Uchimoto is far from perfect (the ambitious yakuza exchanges oaths of loyalty with virtually everyone, which essentially makes his word worthless) at least he’s better than the alternative: Hirono’s former boss, Yamamori (Nobuo Kaneko). Unfortunately, Uchimoto falls out of favor with the men making the decisions and the torch is ultimately passed to Yamamori.

As is usual in the Battles Without Honor Humanity series, things always get worse. Not only is Yamamori intolerable thanks to his rapidly inflating ego, but now Uchimoto wants revenge. Uchimoto blames Hirono for him not getting named successor to the throne and he’d be just fine with seeing both Hirono and Yamamori dead and buried. So begins a war between rival gangs in post-war Hiroshima.

Unlike the previous entries in the Battles series which settled disputes with violence in the streets, much of Proxy War is about scheming and posturing. When Uchimoto becomes associated with the powerful Akashi family (led by Tetsuro Tamba), Yamamori scrambles to align himself with Akashi’s biggest rival, the Shinwa Group. The alliances between yakuza groups mean very little and the oaths of loyalty between individuals mean even less. Naïve young men die for greedy old men who worry about their wounded pride. Throughout the film, Tetsuro Tamba’s character remains untouchable and rarely seen; he’s largely responsible for this war and he never even gets his hands dirty.

Proxy War is the most deliberately paced entry of the five film series. As the yakuza get richer and expand (Japan also saw great economic growth in this time), they also grow more cautious, preferring to handle situations with mediators at a dinner table instead of in a dark alley with a knife. Director Kinji Fukasaku surprises with not only showing some restraint in Proxy War but also providing some of the series’ best visuals.

Filmmakers often say that the most difficult scenes to direct are those with multiple characters seated around a table. Well, Proxy War is chockful of such scenes. The cast and screenwriter Kazuo Kasahara make the dialogue-driven table scenes dramatically compelling while director Fukasaku and cinematographer Sadaji Yoshida provide appealing visuals. Fukasaku’s use of widescreen filming techniques is on full display here, filling every inch of the frame with movement and color. You can watch these scenes multiple times and focus on something different each time because every actor is doing something, unwilling to go unnoticed even when the scene is being powered by someone else. Fukusaku told his actors that they were all main characters in these films and that feels especially true in these dialogue-driven group scenes.

Throughout the series, composer Toshiaki Tsushima provided iconic music that underlined all of the action and drama on-screen. Japanese cinema has featured the music of many great composers and while Tsushima isn’t a name that immediately comes up, his score for Battles is. It’s iconic, the sort of thing that’s become ingrained in pop culture (in Japan more than the West, obviously). Rarely does a director’s vision and a composer’s music match so perfectly.

The Proxy War Blu-ray from Arrow Video has a couple new special features exclusive to their Battles Without Honor and Humanity set. In the good old days of the Japanese studio system, the directors, stars, and crew hung out with each other after long work days in their own special social circles. Secrets of the Piranha Army puts the spotlight on the bad boys of Toei’s stable of character actors who formed the Piranha Army, a club for actors that were not invited to the other social circles because of their reputation as angry drunks. It’s an amusing 35 minute featurette, as it sounds like these actors behaved much like the yakuza characters they played on-screen (please note: this featurette has some spoilers for later films in the series). Also included is Tales of a Bit Player, a 10 minute interview with actor/stuntman Akira Murota who played multiple supporting roles throughout the Battles series (he’s more recognizable as the silent samurai who monitors Tom Cruise’s character in The Last Samurai, a film that Murota speaks briefly about here). Though it’s shorter, I actually enjoyed the Murota interview more than the Piranha Army featurette. Both are worth watching for fans looking to know more about the men who worked on the series.

Proxy War has enough going on to easily fill a three hour film. The fact that Fukasaku and Kasahara delivered their story in under two hours is kind of amazing. It’s a tight film with not a single wasted scene or subplot. Proxy War may lack some of the chaotic madness seen in the first two films but it makes up for that with a clear vision and a deftly plotted screenplay. Many critics consider Proxy War to be the best film in the series. It’s not my favorite Battles film but it ranks up there pretty high. After the sidestep in Hiroshima Death Match, Proxy War has the series coming together with a clear goal in mind going forward.

Kelly Warner’s Rating: 8.5/10

Posted in All, Japanese, News, Reviews | Tagged , , , , , , |

Enter the Invincible Hero | aka Secret Bandit of Black Leopard (1981) Review

Posted on December 14, 2015 by Paul Bramhall
"Enter the Invincible Hero" Korean Theatrical Poster

“Enter the Invincible Hero” Korean Theatrical Poster

Director: Kim Si-hyun
Cast: Dragon Lee (Mun Kyong-sok), Casanova Wong, Chui Man Fooi, Lee Ye Min, Cheung Ching Kwok, Gam Hei Wang, Seo Jeong Ah, Chen Shao Lung
Running Time: 100 min.

By Paul Bramhall

Deciphering who directed what and when in the old school Korean kung fu genre is a head scratching exercise at the best of times. It’s common knowledge that many of the countries’ contributions to the genre were bought up by Godfrey Ho and Thomas Tang for overseas distribution, then given completely new titles and dubbed in English. Movies like Magnificent Wonderman from Shaolin and Strike of Thunderkick Tiger being prime examples. With Dragon Lee though, there’s an extra level of complexity added. Marketed as Korea’s answer to Bruce Lee, Ho and Tang knew a money maker when they saw one. As a result, not only did they buy the rights to Lee’s older Korean movies, but they also made some new ones with him as well.

With Tang acting as producer and Ho as director, a Dragon Lee movie like The Dragon, The Hero (aka Dragon on Fire) was a genuine production by the pair, and also starred the likes of John Liu and Philip Ko. Usually they would shoot in Korea and use mostly Korean crews to save costs, however it was Ho and Tang at the helm. So not only do you have all of the movies Ho had nothing to do with, stuck with a credit sequence which states ‘Directed by Godfrey Ho’, you also have some movies that actually were directed by him, just to complicate things even more.

Enter the Invincible Hero is of course one of the movies which states it was directed by Ho, however it seems in this case that it is in fact an all Korean production. Originally titled Secret Bandit of Black Leopard, it was directed by Kim Si-hyun, the man behind various Hwang In-sik movies such as The Close Kung Fu Encounter and Tomb for a Strongman.

What makes Enter the Invincible Hero worthy of note is that it features both Dragon Lee and Casanova Wong, both of whom share Bruce Lee connections. While Dragon Lee was marketed as the Korean Bruce Lee, starring in exploitation fare like The Clones of Bruce Lee and Last Fist of Fury, Wong famously shot a fight scene in a greenhouse against fellow Korean Kim Tai-jung. What makes the scene so unique is that it appeared in both Bruce Lee’s uncompleted final movie, Game of Death, when it was released in Asia in 1978, and also in the English language version of the sequel, Tower of Death, in 1981 (the same year Enter the Invincible Hero was released).

For reasons we’ll probably never know, Enter the Invincible Hero opens with a title sequence that plays over a fight scene between Dragon Lee and Choi Min-kyu, which is blatantly from a completely different movie. The giveaway sign is that Min-kyu is wearing a modern style yellow vest which practically yells 1970’s, and then as soon as the credits come to a close, it cuts to a period setting of a group of men riding horses through the countryside. What movie the opening is taken from I’m unable to identify, but it’s not the only time it happens. Later on Casanova Wong appears in a flashback scene which is also clearly from a different movie, that bizarrely ends with Wong balancing a bad guy by his head on the tip of his foot, before abruptly cutting off. Strange.

All of this is ok though, because it’s a Dragon Lee flick, and like most Dragon Lee flicks, he plays a kind of wondering nomad. Decked out in a white t-shirt and black pants, which seemed to be his wardrobe for an inordinate amount of his movies, soon enough he’s hoping to acquire some gainful employment from a well to do father and daughter. Of course, there’s some trouble from an unscrupulous gang of characters led by Choi Min-kyu.

While the 70’s style yellow vest from the credits has gone, Min-kyu’s attire is no less striking. He storms around shirtless for the most part, and whenever he has a scene the camera pays extra attention to his grossly protruding outie belly button. It’s clearly prosthetic, but seems to have some connection to his power, and whenever he gets angry he has a pendant around his neck that starts flashing, accompanied by shots which zoom in and out on the belly button. I finished a previous paragraph with the word strange, so I won’t do it again, but I’d like to.

I don’t know what it is with old school Korean kung fu movies and belly buttons. In Revenge of the Drunken Master there’s a whole fight scene which involves Eagle Han trying to stick his finger into the belly button of Johnny Chan, as it would exert some kind of power over him. Thankfully the belly button obsession is no longer a part of Korean cinema. Other body parts also get some worthy attention, there’s a barrel bellied villain, whose special move is to thrust his chest into whoever it is he’s fighting, and we also get a hunchback villain who incorporates the hunch into his fighting style. I don’t know who it is that plays the hunchback, however despite the comedic nature of his fights, the guy has some mean kicks which definitely impress.

Dragon Lee of course is the hero of the piece. Soon he’s wooing the father’s daughter, which naturally involves a scene of her bathing naked, and vowing to bring justice to the villains that are hassling them. The plot is remarkably similar to another Dragon Lee movie, Dragon’s Snake Fist, and while sources sight this movie as being made a couple of years prior, in 1979, I question if in fact they were made at the same time. In one scene Lee even has the same amusing Taekwondo uniform on, adorned with a badge of an oversized cartoonish yellow fist, that he wears in Dragon’s Snake Fist.

Like all Dragon Lee movies, the quality of the action ultimately dictates whether it’s worthy of a watch or not. Thankfully, Enter the Invincible Hero is a superior entry into Lee’s filmography. The fights come thick and fast, and Lee’s movements are sharp and crisp, often against multiple attackers at the same time. There’s a great fight involving chopsticks, and events build up to an extended finale that sees him taking on Min-kyu (who meets a grizzly end involving his belly button), a small legion of lackeys, a pair of beefed up bodybuilders, and Casanova Wong.

The prospect of Dragon Lee versus Casanova Wong should be enough to get any kung fu fans attention, and it doesn’t disappoint. The pair go at it for 5 minutes, and the fight is set to a soundtrack of drums, played in the rhythm of a heartbeat, which really adds to the tension of their showdown. What’s so great about it is that throughout the movie, there’s never any doubt Lee is going to come out victorious in the various fight scenes, even when he’s up against the more highly skilled fighters. However against Wong’s tornado like kicks, the whole scene has Lee visibly on the defensive, as he’s bombarded with a literal barrage of blows from every direction.

It adds a welcome element of danger, and is in no way a disservice to the other fight scenes that have come before, rather it is what a final fight should be – a showdown that takes things to the next level, pitting the hero against someone that outmatches him. While there are fans out there who dismiss the entire filmographies of any actor that was classed as a Bruce Lee clone, movies like Enter the Invincible Hero prove that, for those that do, they’d be robbing themselves of some solid kung fu entertainment. Perhaps just lose the whole belly button thing.

Paul Bramhall’s Rating: 8/10

Posted in All, Bruceploitation, Chinese, Korean, News, Reviews | Tagged , , |

Battles Without Honor and Humanity Vol. 2: Hiroshima Death Match (1973) Review

Posted on December 10, 2015 by Kelly Warner
"Battles Without Honor and Humanity Vol. 2" Blu-ray Cover

“Battles Without Honor and Humanity Vol. 2” Blu-ray Cover

AKA: Deadly Fight in Hiroshima
Director: Kinji Fukasaku
Cast: Kinya Kitaoji, Sonny Chiba, Bunta Sugawara, Meiko Kaji, Mikio Narita, Hiroshi Nawa, Asao Koike, Shingo Yamashiro, Hideo Murota, Tatsuo Endo, Yoshi Kato, Kinji Nakamura, Gin Maeda, Nobuo Kaneko, Toshie Kimura
Running Time: 100 min.

By Kelly Warner

After the huge financial success of Battles Without Honor and Humanity in January 1973, two sequels were fast-tracked and released that same year. Based on a true story supposedly discovered while researching the first film, Battles Without Honor and Humanity: Hiroshima Death Match (aka Deadly Fight in Hiroshima) could be considered the odd duck in the Battles series in that it’s the only one that doesn’t have Bunta Sugawara as the film’s lead. While Suguawara receives first billing in the opening credits, Hiroshima Death Match undeniably belongs to Kinya Kitaoji (Shinsengumi: Assassins of Honor) and Sonny Chiba (Kill Bill) who play a pair of lunatic yakuza at each other’s throats.

The story told in Hiroshima Death Match takes place both during the first film’s story and shortly after it. Down-and-out loser Yamanaka (Kinya Kitaoji) is a man with a death wish and a short fuse. Like others in the Battles series, he’s a man left without a purpose after the end of World War II. During the war, Yamanaka tried to be a kamikaze pilot but was too young for the program at the time. Now he carries himself in a similar manner, like a man who hopes to go out in a violent blaze of glory. After the unemployed Yamanaka eats at a restaurant without paying, the local thug Katsutoshi (Sonny Chiba) beats him to a pulp. Yamanaka vows revenge against Katsutoshi and all his men, which only makes the beating even worse. Other yakuza intervene and eventually nurse Yamanaka back to health. From there, Yamanaka joins the yakuza as an assassin and waits for the opportunity to put Katsutoshi in his crosshairs.

Yamanaka may be the center of the story but it’s Katsutoshi that kicks the film into gear. Sonny Chiba plays the villainous Katsutoshi over-the-top and potentially insane, often with one hand on a weapon and the other gripping his crotch. Representing the disrespectful hooligans that the yakuza have devolved into, Katsutoshi burns bridges wherever he goes and disrupts the fragile peace between yakuza families when he grasps at more power.

In the time since the original film, Bunta Sugawara’s Hirono has gone off on his own. Working out of a scrapyard, Hirono tries to stay true to his ideals, but he must decide whether to swallow his pride and accept easy money when opportunity comes knocking. Hirono doesn’t have nearly as much to do this time around and that’s too bad, but at least the film finds a believable way of fitting him into the story.

Added to Hiroshima Death Match is a romance subplot that provides the film with some much-needed humanity and also grants a few extra unexpected twists to the plot. Yamanaka falls for beautiful Yasuko (Stray Cat Rock’s Meiko Kaji), though their relationship is a complicated one as her uncle is also Yamanaka’s boss. Kaji’s role is one of the only notable female characters in the entire series – right or wrong, Battles Without Honor and Humanity is a story about the boys – and she makes good use of the material given to her here.

One of the things that Hiroshima Death Match emphasizes is how disposable the young yakuza are to their superiors. Similar to the role of the kamikaze pilot that Yamanaka once longed to be, his boss repeatedly sends him off on dangerous missions fully expecting that he may never return. Yamanaka, like fellow yakuza and the wartime soldiers before him, is used and abused by an unsympathetic system. Hiroshima Death Match’s final scene is one of the most powerful finales in the five film series, hitting home everything about the yakuza that director Kinji Fukasaku meant to convey.

The film may have a different central focus than the original but Kinji Fukasaku’s visual style returns intact. The action is messy and bloody (somehow even more violent than the first Battles), opting to avoid perfect shootouts and skilled sword techniques, regardless of how badass any of the characters are supposed to be. On the Blu-ray from Arrow Video, the new special feature included on this disc is a brief interview with Ryuzo Ueno, the series’ fight coordinator. It’s a surprisingly funny and enjoyable interview, with Ueno providing many short stories about how he got into filmmaking and his work on Battles Without Honor and Humanity. When you’re going through the set’s extras, be sure to remember Ueno’s interview.

Hiroshima Death Match has a narrower focus than the first film and is less chaotic as a result. It may not be as fascinating as the original Battles but there’s so much to like here, particularly the character-driven story performed by a stellar cast. Sonny Chiba brings madness to his bad guy role. Bunta Sugawara brings his signature cool. Nobuo Kaneko returns as the weaselly Yamamori. Meiko Kaji provides warmth and humanity. And Kinya Kitaoji gives us a complex man that’s been through the gutter before being given a gun and a reason to use it. Rage and love drive Kitaoji’s Yamanaka, making him a dangerous man that you want to like but just can’t fully trust. While Hiroshima Death Match may be remembered as the film that focused on a side-story instead of the main character of the series, at least it gave us a complicated and memorable character in his place.

Kelly Warner’s Rating: 8/10

Posted in All, Japanese, News, Reviews | Tagged , , , , , |

Home Invasion | DVD (Sony Entertainment)

Posted on December 10, 2015 by JJ Bona
Home Invasion | DVD (Sony Entertainment)

Home Invasion | DVD (Sony Entertainment)

RELEASE DATE: February 2, 2016

Sony Entertainment presents the DVD for Home Invasion, a taut psychological thriller starring Natasha Henstridge (Maximum Risk), Jason Patric (Narc) and martial arts star, Scott Adkins (Close Range).

When a wealthy woman and her stepson are targeted by a trio of expert thieves in their remote mansion, her only form of help comes from a call with a security systems specialist. But as the intruders become increasingly hostile and the connection wavers, will she trust him to be her eyes and navigate her to safety? | Watch the trailer.

Pre-order Home Invasion from Amazon.com.

Posted in DVD/Blu-ray New Releases, Other Notable Titles |

Battles Without Honor and Humanity Vol. 1 (1973) Review

Posted on December 9, 2015 by Kelly Warner
"Battles Without Honor and Humanity Vol. 1" Blu-ray Cover

“Battles Without Honor and Humanity Vol. 1” Blu-ray Cover

AKA: The Yakuza Papers Vol. 1
Director: Kinji Fukasaku
Cast: Bunta Sugawara, Hiroki Matsukata, Kunie Tanaka, Eiko Nakamura, Tsunehiko Watase, Goro Ibuki, Nobuo Kaneko, Toshie Kimura, Tamio Kawaji, Mayumi Nagisa, Asao Uchida, Shinichiro Mikami, Hiroshi Nawa
Running Time: 99 min.

By Kelly Warner

Throughout the 1960s, yakuza were typically depicted as honorable outlaws in Ninkyo eiga, or “chivalry films.” Often starring fan-favorites like Ken Takakura or Koji Tsuruta, these films depicted honorable yakuza doing battle with deceitful, backstabbing foes that didn’t live by the code. In the 1970s, the chivalrous gangster movies largely died out as the Jitsuroku eiga sub-genre of crime films surged in popularity thanks to the arrival of Battles Without Honor and Humanity in 1973. Jitsuroku eiga, or “true account films”, told more honest stories about yakuza in post-war Japan. There were others of its kind before 1973, but Battles Without Honor and Humanity was a game changer. Studios and audiences embraced this grittier, more true-to-life take on the life of crime, and a new wave of yakuza film classics (as well as poor imitations) quickly followed suit.

Battles Without Honor and Humanity opens with a shot of the mushroom cloud over Hiroshima. The Battles series is the story of the chaos of post-war Japan as seen through the eyes of gangsters and thieves. After the atomic opening credits are over, we go to a busy black market in the ruins of Hiroshima, where American soldiers attempt to rape a Japanese woman in broad daylight. They’re stopped by ex-soldier Shozo Hirono (Sugawara). Hirono is a drifter who spends his days drinking and apparently wandering aimlessly through the black market; still wearing his soldier’s uniform, he’s a man waiting on someone to write the next chapter of his life. After a friend is cut by a drunk yakuza with a sword, Hirono volunteers to get revenge, and kills the yakuza in the street. Hirono goes to jail, serves his time, and is eventually released, where he is greeted at the gates by yakuza who want to take him under their wing. . . And this all takes place in the first ten minutes or so.

Battles is a dizzying, fast-paced tale of bloodshed as men form alliances, kill friends, and lose themselves as they blindly chase after glory and riches. It’s chaotic — both stylistically and dramatically — and not always easy to follow. Names for the yakuza and their alliances flash on screen when they first appear, letting you know who’s who and where they stand, but in a film with such a large cast and a breakneck pace it’s easy to forget things along the way. It’s a bit like keeping track of the alliances and grudges in Game of Thrones without the helpful family flags and colors to remind you where everyone came from.

Bunta Sugawara’s Hirono is as close as the Battles series gets to having a main character. However, this is an ensemble effort, and Hirono often disappears for long periods of time while the other characters advance the plot without him. In the first film, Hiroki Matsukata (The Shogun’s Samurai) and Tatsuo Umemiya (Yakuza Graveyard) lend strong performances as Hirono’s two closest allies. Still, in the ever shifting landscape that is the film’s plot, it’s never clear how long your friends will remain on your side. Sugawara, Matsukata, and Umemiya do good work playing with those themes, as shifty eyes and a change in tone are sometimes the only key to a change in a character’s alliance. While Sugawara would stay on as the “main character” of the series, both Matsukata and Umemiya would return in later Battles films as totally different characters (they’re not the only actors to do so – this is another part of the reason why the series can be tough to follow at times).

Character actor Nobuo Kaneko (Ikiru) plays Hirono’s boss, Yamamori. Easily the oddest character in the film, Yamamori gets weepy when he should be strong and is cold when he should be compassionate. Often flanked by his dangerous wife, Yamamori demands complete respect from his crew but does little to earn it. What begins as a boss that the others want to believe in soon becomes a greedy little man and a threat to both friend and foe.

Late in the film, a man contemplating murdering a friend wonders, “Where did we go wrong?” That line seems to be the center of the story here, as men chase an impossible dream of being honorable men in a dishonorable time. Whenever the men resort to treachery and murder, things tend to go their way. When they stick to the old ways, things fall apart. Take for example a scene when a yakuza chops off his pinky finger, the old-school way of offering an apology to a fellow yakuza. After chopping the pinky in half, the finger goes missing, leading to a comedic search as gangsters look high and low for the missing digit. Then, after recovering the finger, they take it to the offended yakuza and he basically laughs it off, saying the gesture was completely unnecessary. Old-school honor goes unrewarded. Only the snakes profit in the post-war underworld.

Battles Without Honor and Humanity was based off the memoirs of convicted yakuza Kozo Mino. When the yakuza first heard of Mino’s written confessions, the publishers were threatened, and the story passed from one house to another until finally a magazine published it in serialized form. In the film, what is true to life, what is dramatization, and what is mistakenly based on the lies of a thief and murderer remains unclear. Even without the knowledge of Mino’s story being the basis for the film, Battles feels like a true story, mostly because it makes almost no attempt at giving these characters a path to redemption.

Battles Without Honor and Humanity is often called Japan’s answer to The Godfather trilogy. It’s easy to get caught up in that line of thinking – I make the comparison myself when trying to get friends interested in the series – but it’s somewhat misleading. Battles is like The Godfather in that it’s a legendary piece of cinema that happens to detail the rise and fall of gangsters after WWII (also: both were released within a year of each other). The similarities mostly end there. The Godfather is an operatic tragedy full of classic beauty. Battles Without Honor and Humanity is brutal, chaotic, and dirty – the filming style is mostly done with handheld cameras, lending the film the look of a documentary. It’s raw and in your face, a far cry from the visuals of Coppola’s classics, even in their most violent scenes.

Out of print on DVD for the longest time, the Battles Without Honor and Humanity series is being released on Blu-ray and DVD by Arrow Video in a limited edition set that contains all five films, plus a 120 page book, and The Complete Saga, a film that edits the first four Battles into one long movie. I’ll be reviewing the films and the set’s discs as I go. The first film looks great on Blu-ray, a fine upgrade over the old DVD. The sound has some noisy moments, but overall it’s a good track for a film its age. The special features on disc 1 include a ten minute interview with Takashi Miike, original trailers, and a commentary from Japanese film expert Stuart Galbraith IV. In the interview, Miike confesses his love for Battles and talks about his own films for a while. I would’ve liked the interview to be a bit longer but it’s an enjoyable extra for fans of both directors Miike and Fukasaku. Stuart Galbraith IV is one of my favorite English-language historians of Japanese cinema working today. His track offers some nice information on the genre, the time, and the talent involved on the film. It’s a worthwhile commentary for fans of the film.

Battles Without Honor and Humanity is an essential piece of Japanese cinema. It remains one of the most popular films of all time in Japan and the rest of the world is slowly catching on. Labyrinthine and chaotic, the film demands the viewer’s complete attention, and even then you’re liable to be lost from time to time. Even in the moments of confusion, the film is always so watchable and cool. Fukasaku and his cast make redefining a genre seem effortless.

Kelly Warner’s Rating: 9.5/10

Posted in All, Japanese, Reviews | Tagged , , , |

Weaponized | aka Swap | Blu-ray & DVD (Cinedigm)

Posted on December 9, 2015 by JJ Bona
"Weaponized" Teaser Poster

"Weaponized" Teaser Poster

RELEASE DATE: March 1, 2016

Cinedigm presents the Blu-ray & DVD for Weaponized (aka Swap), an all-star, sci-fi actioner from Timothy Woodward Jr. (Throwdown) and writer Sean Ryan (4Got10). The film stars Johnny Messner (Kill ‘Em All), Jon Foo (Tekken), Mickey Rourke (Year of the Dragon), Tom Sizemore (Natural Born Killers) and Michael Paré (Streets of Fire).

When a detective investigates a mass shooting by a former US soldier, he finds himself in a government conspiracy led by a vengeful private contractor. Now the detective must prevent this grieving father from unleashing a deadly “robotic virus.” | Watch the trailer.

Pre-order Weaponized from Amazon.com today!

Posted in DVD/Blu-ray New Releases, Martial Arts Titles |

The Piper | aka Guest | DVD (CJ Entertainment)

Posted on December 9, 2015 by JJ Bona
The Piper | DVD (CJ Entertainment)

The Piper | DVD (CJ Entertainment)

RELEASE DATE: February 2, 2016

CJ Entertainment presents the DVD for Kim Gwang-Tae’s The Piper, starring Ryoo Seung-Ryong (Admiral: Roaring Currents) and Goo Seung-Hyun (The Fatal Encounter).

Shortly after the Korean war, a flute-playing wanderer and his son arrives to a peaceful and remote village, where strange and dangerous happenings occur. Also starring Lee Sung-Min (Kundo), Chun Woo-Hee (Mother), Lee Joon (Seoul Station) and Jung Kyung-Ho (Moodori). | Watch the trailer.

Pre-order The Piper from Amazon.com today!

Posted in Asian Titles, DVD/Blu-ray New Releases |

Braddock: Missing in Action III | Blu-ray (Shout! Factory)

Posted on December 8, 2015 by JJ Bona
Braddock: Missing in Action III | Blu-ray (Shout! Factory)

Braddock: Missing in Action III | Blu-ray (Shout! Factory)

RELEASE DATE: March 15, 2016

Shout! Factory presents the Blu-ray for Braddock: Missing in Action III, a 1988 action film directed by Aaron Norris (Delta Force 2: The Colombian Connection) and starring Chuck Norris (Yellow Faced Tiger).

Colonel James Braddock (Norris) is back in Vietnam, this time fighting his own personal war, as he goes in to rescue the son he’s never met from a ruthless Vietnamese general – a vicious man who will stop at nothing to see Braddock dead. | Watch the trailer.

Pre-order Braddock: Missing in Action III from Amazon.com today!

Posted in DVD/Blu-ray New Releases, Martial Arts Titles |

Yakuza Apocalypse (2015) Review

Posted on December 7, 2015 by Kelly Warner
"Yakuza Apocalypse" Japanese Theatrical Poster

“Yakuza Apocalypse” Japanese Theatrical Poster

Director: Takashi Miike
Cast: Hayato Ichihara, Riko Narumi, Lily Franky, Reiko Takashima, Sho Aoyagi, Kiyohiko Shibukawa, Yayan Ruhian, Mio Yuki, Masanori Mimoto
Running Time: 125 min.

By Kelly Warner

Even in the wild and diverse filmography of director Takashi Miike, Yakuza Apocalypse is one weird movie. What’s interesting is how it keeps its lunacy hidden away like a dirty secret until you feel like you’re settled in for a crime/horror hybrid, then WHAM! the movie loses its mind, there’s blood bank bad guys knitting sweaters in the basement, a woman’s head springs a leak, and a giant frog monster (“the world’s toughest terrorist”) comes to town and ruins everybody’s day. Truly, from the very beginning it was clear that Yakuza Apocalypse was going to be different – in the opening, Lily Franky’s gang boss character gets shot a hundred times, kills dozens of bad guys, and then goes to suck blood from a woman’s neck to regain his strength – but nothing in those opening moments can prepare you for how completely unhinged Miike’s vision soon becomes.

Takashi Miike, the man behind such bizarre features as The Happiness of the Katakuris, Gozo, Zebraman, Visitor Q, and Izo, is no stranger to weirdo entertainment. Since going mainstream and directing big budget action movies, game adaptations, and remakes of classic samurai pictures, the extreme features that Miike built his name on have come with less regularity. Maybe he was itching for a chance to do something wild again, because Yakuza Apocalypse is filled to the brim with crazy ideas. The film won’t work for everyone, but for the right audience Yakuza Apocalypse rarely goes five minutes without another moment of WTF bewilderment and hilarious insanity.

Young mid-level yakuza Kagayama (Hayato Ichihara) wants to be just like his boss (Lily Franky) but has no idea that his boss is secretly a vampire. When villains from the boss’s past come asking him to return to the fold, the boss refuses and is murdered as a result. In his dying moments, the boss passes on the vampire blood to Kagayama, thus empowering him with super strength and cursing him with a thirst for human blood. Thing is, when Kagayama inevitably bites people to drink their blood, they don’t just become vampires… they become yakuza vampires. And that’s the main joke at the center of the film. It’s clear from the very start that Miike basically has zero interest in either staying true to vampire myths or creating his own. Sure, there’s plenty of blood drinking, but this is a movie about yakuza, not vampires. The “plot” comes together when Kagayama’s old crime family tries to push civilians around, only to find that the civvies are recently turned yakuza vampires – basically it’s become a town full of thugs, with the yakuza vampire gene spreading like an obnoxious plague. As you’d expect from Takashi Miike, the film is violent and sometimes quite disturbing, but he manages to mine a surprising amount of hilarity from the concept.

Hayato Ichihara (All About Lily Chou-Chou) is cool as Kagayama but there’s not much more to his character other than that he’s really cool. Lily Franky, best known for comedies and dramas such as 2013’s Like Father, Like Son, is not who you’d expect to play a badass gangster, but he pulls it off by simply not trying too hard. Also among the cast is The Raid’s Yayan Ruhian, here playing a martial artist working for the bad guys. Often dressed like a nerdy tourist, Ruhian is a fun addition to the cast as he gets to have a couple decent fights and also play some comedy.

There’s a lot of fun to be had in Yakuza Apocalypse but it’s never very clear what the stakes are. The weird bad guys hang around even after killing the boss but… why? What’s their plan? They’re at odds with Kagayama, but it’s never clear why they want him dead or what they hope to achieve. In the finale, things truly take an apocalyptic turn, but the reasoning for this is also a mystery. At some point, half-laughing and half-mad, I screamed at the TV, “What the hell is going on?” Merely 30 seconds later, the film’s know-it-all character echoed my question by crying out, “What is happening?!” When the film’s know-it-all master of exposition is clueless, that’s your sign that the film is just winging it from that point on.

Miike seems to understand that he’s taken the concept just as far as it can go in the end. Right as the film goes completely over the edge, it cuts to black and rolls the end credits to the tune of Japanese hard rock band Knock Out Monkey. We’re denied a “proper ending.”

However much I enjoyed the movie, however much I might’ve laughed at times, there’s no denying that some of the film comes across as half-baked. And that’s disappointing, because much of the rest of the film shows some kind of deranged inspiration. The lack of clear goals for the characters, the lack of a true ending, and a few questionable inclusions hold Yakuza Apocalypse back from being a complete success.

I liked this, I did. It’s one of those movies where I kind of wish I could turn off my inner-critic and just enjoy the film for what it is and forgive it for what it’s not. And if you’re not lucky enough to connect with the film’s deranged sense of humor, then you’re going to be even less forgiving than I am. Yakuza Apocalypse is a dark comedy for a very particular sort of audience member. Working like a live-action cartoon brought to life by a mad man, it’s a one of a kind film, and it wears its flaws out in the open for everyone to see.

Kelly Warner’s Rating: 6.5/10

Posted in All, Japanese, News, Reviews | Tagged , , |

Deal on Fire! Legend of the Fist | Blu-ray | Only $6.93 – Expires soon!

Posted on December 7, 2015 by JJ Bona
"Legend of the Fist: The Return of Chen Zhen" Blu-ray Cover

"Legend of the Fist: The Return of Chen Zhen" Blu-ray Cover

Today’s Deal on Fire is the Blu-ray for Donnie Yen’s Legend of the Fist: The Return of Chen Zhen, directed by Andrew Lau (Infernal Affairs).

In Legend of the Fist: The Return of Chen Zhen, Donnie Yen plays Chen Zhen, a role made famous by Bruce Lee in the 1972 film Fist of Fury. It’s set in Shanghai International Settlement, seven years after the events of the Bruce Lee classic!

Legend of the Fist also stars Shu Qi (Journey to the West), Anthony Wong (Punished) and Shawn Yue (Wild City).

Order Legend of the Fist from Amazon.com today!

Posted in Deals on Fire!, News |

Exclusive: Interview with martial arts action star Scott Adkins

Posted on December 4, 2015 by Zach Nix

Cityonfire.com presents an interview with Scott Adkins, the mega-talented star and martial artist from Undisputed 2-3, Assassination Games, Universal Soldier: Day of Reckoning and Wolf Warrior.

In this exclusive interview, Adkins talks about his newest film, Close Range, as well as his upcoming projects, Boyka: Undisputed and Hard Target 2 – plus much, much more. Enjoy!

"Close Range" Theatrical Poster

“Close Range” Theatrical Poster

ZACH NIX: You have worked with Isaac Florentine several times before and arguably helped establish the direct to video/low budget action market as a force to be reckoned with. How was it working with Isaac again on your latest film, Close Range, and can you speak about your working relationship?

SCOTT ADKINS: It’s always a pleasure, and he’s a great friend of mine. He’s my uncle in a way. He gave me my start in Hollywood, and I am forever grateful for that. He gave me my first breakout success with Undisputed II. He likes to work with me because he’s a martial artist and he appreciates that I have a very strong work ethic and that I put as much effort in as I can to get down the action as quickly and efficiently. It’s not easy and you get a lot of injuries.

For me, he always knows how to shoot the action. Some films I’ve made, and I get very frustrated, because some people don’t understand how to shoot the action. And it’s so crushing for me. With him I don’t have that problem because I know he knows how to shoot the action. And if we’ve landed a good script and we get the action right, that’s when we get stuff like Undisputed.

ZN: One of the pleasures of watching the action movies that you and Florentine conjure up is being able to visually understand all of the information and the action within the screen. Is it always the goal with you guys to make the action as clear as possible when you shoot it?

A still from the upcoming "Boyka: Undisputed IV"

A still from the upcoming “Boyka: Undisputed IV”

SA: Well, listen, when they shake the camera and they do the close ups and they edit too much, the only reason they started doing that was to hide the short comings of the performer like… I don’t want to mention any names. You know what I’m talking about.

We’re at this stage now where the shaky cam has become the new way to do it, and they’ll even do it, even if the performance of the performer is good, to a good martial artist they’ll still do the shaky cam because it’s become this style. What we want to do, we want to show the beauty of the fight sequence. If it looks good in camera, it looks good in camera! You don’t need to do these quick edits. The stunt performers don’t have a choice because they [filmmakers] can’t show the stunt doubles.

ZN: Close Range opens with an action sequence where you take down several members of a drug cartel in order to rescue your niece. The set piece also appears to be filmed in a sole tracking shot. Was it filmed in a single shot and did it take awhile to rehearse?

Adkins kicks back in "Close Range"

Adkins kicks back in “Close Range”

SA: Yeah that was a single shot. It is one continuous take. We rehearsed it before we shot the movie with the guys we were gonna use in the sequence because they’ve gotta be on point.

You know it’s a hard situation when you’re one of those stunt guys, you don’t wanna be the one who forgets your move, especially if I’ve just done a minute and a half of one take and than you forget a move, imagine how bad you would feel? I mean I’m the lead, but it’s a hard situation for those stunt guys, and they did a great job.

ZN: It’s clear that Close Range is a contemporary Western with its desert ranch setting, plentiful cowboy hats, and ranch face/off. Are you or Florentine big fans of the Western genre at all, and did you two pull from any specific Westerns when developing the film?

SA: I am a huge fan of Sergio Leone and his Westerns. There’s probably more cowboy hats than we should be using. We didn’t have a lot of real Mexicans, so we just put a cowboy hat on them and said, “Hey, it’s a Mexican.” We’ve got some questionable Mexican faces in there. We wanted the best stunt performers. In all of his [Florentine] films you can see the influence of Sergio Leone. Especially in the music.

Adkins is a huge fan of Sergio Leone.

Adkins is a huge fan of Sergio Leone.

ZN: You recently completed principal photography on Hard Target 2, an upcoming sequel to John Woo and Jean-Claude Van Damme’s classic film, Hard Target. How was it shooting that film and following in the footsteps of Van Damme by taking over another franchise of his?

SA: You know, when I was initially offered it, I said, no I can’t do this again. People will think that I am actively pursuing Van Damme films or they might think that I am some twisted super fan of Van Damme that when I was a kid I made it my life’s work to become an action star just so I could make sequels to Van Damme movies. But no, that’s not the case. When they offered it to me, I said should I do this? I’ve already done so much linked to Van Damme. But the truth is I was such a huge fan of Van Damme growing up and he was such a huge influence on me that actually in my mind, and only I can know how this feels, it just felt right. I feel like if anyone’s gonna do it, why not me because I was so influenced by Van Damme as a kid that if anyone’s gonna do it, and when you see the film and you see what type of character I play and what the story is, you’ll realize that actually there’s no one better suited for this part than me. And people keep comparing me to Van Damme and I’ve worked with him a couple times before, and it’s coincidental really, but I don’t know, if you wanna get somebody for the sequel, who else are you gonna get?

ZN: You have faced off against several action stars in your cinematic career. These include Wu Jing, Jean-Claude Van Damme, Dolph Lundgren, Jason Statham, and several others. Is there any actor or opponent that you would like to face off against or work with in a film of yours that you have not challenged yet?

 

Adkins in the upcoming "Hard Target 2"

Adkins in the upcoming “Hard Target 2”

SA: Of course I would love to work with Tony Jaa. I would love to work with him, but on an equal setting, it would be me and him starring in a movie, like how it was me and Van Damme in Assassination Games. And of course I would love to work with Donnie Yen. But mostly with Tony Jaa, me and him, I would dearly love that. Tony would love to do it as well.

ZN: Now that you and Florentine have released Close Range, it seems that Boyka: Undisputed IV is the next collaboration between you two on the release schedule. Do you two have any other collaborations coming up after Boyka, and do you hope to continue making films with Florentine?

SA: Yeah I’ll continue making films with Florentine, he’s the best at what he does. People are gonna be in for a real treat when Boyka: Undisputed comes out.

Thanks again to Scott Adkins, Camelia Adibi at Katrina Wan PR and our very own Zach Nix for making this interview happen. Close Range is currently available on iTunes and will be hitting Blu-ray and DVD on January 5th. Don’t miss it!

Posted in Interviews, News |
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